Chantelle Gerrard

The costumes by Chantelle Gerrard are beautifully made producing strong silhouettes that also allowed for great movement and quick changes on stage, as well as giving the performers a chance to sport bright colours.

The 17th Century costumes in Measure for Measure, designed by Chantelle Gerrard, were an integral aspect of the play, and were cleverly used to distinguish the rambunctious common folk of Vienna from the austere nobles who ruled the city.

Chantelle Gerrard and the wardrobe team have done a magnificent job across all four shows and deserve an award.

From the quixotic Spanish helmets of the guards in their precise red and blue stripes to Lucio’s Cavalier ‘Flashheart’ cloak and feathers, and the Chopine shoes of Madame Froth, the lavish costumes are a delight. Their designer, Chantelle Gerrard, can be applauded for her attention to detail.

The impeccable costumes by Chantelle Gerrard made me weak with envy.

It is a pity we don’t get the actual playhouse of the Pop-up Globe, but this production in the Regent, with fabulous set by Malcolm Dale and lavish costumes by Chantelle Gerard, is the next best thing and indeed has a validity of its own.

One of my absolute favourite aspects of this production is Chantelle Gerrard’s striking costumes; truly believable, traditional garments which looks the part so completely I found myself wholly distracted by their beauty at times, Gerrard is evidently a master costume designer.

Chantelle Gerrard’s medieval costuming is admirably detailed and satisfying. Rich brocaded velvet and cherry-and pumpkin-coloured leather armour stand out among duller tones: it’s like earth and midnight sky punctuated with silver stars. Flashy white-gold satin coronation robes neatly show up the Macbeths as parvenus.

A remarkable feast for the senses, crafting rich performance textures mixed with beautiful design aesthetics in music and costume. Chantelle Gerrard’s clothing designs are luxurious and beautifully crafted.

Durability, flexibility and, of course, budget, all have a role but Chantelle tries her utmost never to compromise on quality and aesthetics. Natural materials — linen, velvet and silk — are her favourites and she says necessity is always the mother of invention.

There are no lighting changes. Hanging chandeliers with fake candles cast a dim pallor over the stage. Chantelle Gerrard’s gorgeous costume designs give us a sense of Elizabethan fashions, and especially the way that social standing and gender is weaved into the garments.

The clothes can’t just be pretty. Gerrard considers how the people who wore them would have moved, fought, or milked the cows at 4am. She describes the process as experimental archaeology: “Taking all the clues and putting them together. It’s really interesting trying to solve the mystery.”

Actors appear and it’s immediately apparent that the costumes, designed and made by Chantelle Gerrard, are exceptional as well. They’re functional and vivid, support the overall design concept and enhance the picture-book-come-to-life creation that is at the heart of Bray’s excellent production.

The first striking thing about Greedy Cat is his delightful costume designed and constructed by Chantelle Gerard – smooth light brown bodysuit adorned with cosy-looking fluffy ginger stripes, a magnificent tail and superb facial makeup…